 Hey, I'm Anfa. Welcome to another monthly livestream. Today we're going to be doing something way different than anything I've done previously on live streams or otherwise. We're going to do a remix, but not just a remix. We're not just going to take a project that we have before and just modify it. We have stems, which were created by my lo-fi, who is a prevalent open-source music producer, and the stems were created with zero rhythm, which I featured on this show before. So we've got the stems in Ardor, and today with John the Bard we're going to see what we can do with the stems inside of Ardor to give this track a new new look and new feel, make it something different. By the way, can anybody hear me? I made this nice introduction and maybe that just went into nothing. I think I think it works. Lifeline says, where's the dude? I don't know where's the dude. What dude? This can't be good for me, but I feel great. Ravanderberg says, Nilsi, no kicks in. I'm out. This doesn't mean I'm not going to synthesize a kick, man. You bet I will. What else am I going to do? This is a monthly live stream. I need to synthesize my kick, otherwise I'll be sick. John, are you ready? Let's go. Please welcome John the Bard, my co-host. John, it's not your first time. I think you're missing one light because it's kind of dark in there. Oh, maybe. That's interesting. I wonder if my... Is it possible? I could open the window for more light. Let's open the window for more light. No, wait. I can do it in software. Let's try doing it software. We live in the future. I can open your window in software. There's an app for that. Oh, I know. Maybe something. Yeah, I don't... If I drop my camera in GUVC real fast, that's fine. No, I think it's going to be fine. Perfect. I hope I'm not going to clip you too much. Okay, I think it's better. Before, after. Before, after. Noise. Okay, everybody ready? Can you hear it? They want me... Rob says me a bit louder. I think that's on your end you'll have to do. I can up my volume, but you're probably better to do it. Actually, you're 100%. I can make myself quieter, though. Here, I can just turn me up. I'm turning myself down. I don't believe it as is before. I think we're on slightly equal, similar levels. I can hear myself a little bit from your side. By the way, Rob Bonnerberg says, you practiced this for free hours! Yes, we did. No, I think what happened is I opened the window in my studio and I think the camera changed itself because I just cannot convince my camera to not do some auto stuff. So I think it's related to me opening and closing my window because it's daytime, so it's nice and bright outside. Lifeline says there's a little bit of feedback echo. Yeah, I think it's from your end, John. There is, let me... All my speakers are off. I think it's bleeding through the headphones, you know? Yeah, now I can hear it louder. Yeah, so I guess my mic is picking up my headphones. Yeah, we need a gate. I don't know what to do about that. Let me edit my... Yeah, you're right. Let me edit my chain. You want to gate it or I can gate it, too? I have a gate already open. I just... Oh, it's pretty quiet, that's why. My love, I says, shut down Windows. Now it's better. Yeah, okay, cool. That should work, then. Also, it cuts off some background noise that was coming from your end that I didn't realize was coming until you shut it off. Yeah, this has been the downside switching to the condenser instead of the... Oh, yeah, you can't see it on stream anymore. I have a condenser instead of my dynamics mic because you guys get a lot more sound. But it makes it easier for me. I don't have to lean just to be able to hear. This is funny because when I... I was experimenting and I got a dynamic microphone for the sole purpose of not having to deal with too much room noise, et cetera. But your gate is still a little bit not tight enough. I can hear myself. But when I switched to the condenser, I found that there is not much difference. Actually, I'm getting a bit better sound because I have a lower noise floor because I had to crank the dynamic mic like a 100% preamp gain, and this thing is at 50%. My dynamics add a 100% gain, basically. I just moved it a lot closer, hopefully, then I can tighten the gate a lot. It doesn't look like I got much louder. I think it's better. I'm going to speak a bit. I'm going to scream a bit. I'm sorry. Yeah, I didn't see it come through. So if that seems fun, as long as I'm... It looks like the gate's working correctly, so as long as I sound fine. You do. All right. I think the balance of levels is also okay. We're both peaking in the yellow, which is... A-okay. Okay, I think we're ready. It still wants me louder. I think we're ready to... As long as we're both audible. We'll see how it is in five minutes. If people are still complaining, we'll reassess. So we got a track. Tiny bit of room. Yeah, so we have a track. I'm going to play it just like it is. These are stems that were exported from ZeroVim, and a fellow musician, MiloFi, has made this track. It was made as a joke, because there's quite a lot of people from the Netherlands in this community, and they like their sweets, and sweet bread, or whatever pudding Brodje is. And there's also a joke, because in one of the noisiest tracks... One of the noisiest tracks is called Lekka, which I believe means tasty in Dutch. So we kind of made some jokes about this, and I recorded some vocal samples, and MiloFi took them and made a track out of that. But the track no longer is editable, because it was made in ZeroVim Alpha, and the project no longer loads in ZeroVim Beta, so all we have are the stems. It's great that MiloFi exported the stems before that happened. And also it's nice that ZeroVim exports stems, because you can't take stuff for granted, but apparently it does, and here we are. It's been years, but I have had issues with dons doing stem exports, even for proprietary ones, so it's good that it has it. Let's see what we can do. Let's just hear this track from start to finish and see what is there. Everybody has an idea of what we're working in. Nils, he asks, the track is no longer editable? Oh no, now we're having food puns all over the chat. Damn, you got me. You got me good. It's too old. The track's gone bad. It's spoiled. Oh, we have a spam bot. We forgot to refrigerate it. We have a spam bot. Yep. No more. By the way, my lo-fi, I made you a moderator, so if you see some spam, you can hit him with a hammer. The power lo-fi deserves. Yeah, I see Rovlanderberg is also moderating. Thanks, guys. Alrighty. I hope the levels aren't going to be too much, so let me start quiet and we'll turn it up. Somehow I don't think it comes through at all. I hear it on my end. I don't know if it's coming through on their end. Let me unmute YouTube. It should be coming in. Oh, wait a minute. Yeah, my mistake. I had all the faders down. That's a good word. I chopped that up. Maybe we can find the original samples in Discord somewhere. Or on my disk. Louder. For both your voice. Okay. My lo-fi says no sidechain the stems. Okay, what should have sidechain what? We can set that up. Sidechain 100% of tracks to the kick. Let me see. We have track... We have track names, so they are all prefixed with the name of the project, so maybe I can rename it. I'm curious if you have a good mass solution for this, because the start of every stem project that I've been working on. Yeah, it's prefixed with the name of the project. Exactly this. I do exactly this with like 70 stems, and I'm just sitting there like a video on in the background, like, oh. Hey, maybe there's a script for that in Ardor. There's a bunch of scripts. Yeah, someone probably has written one. Remove redundant names or something like that. Yeah. If not, I might make one. I haven't done a Lua script for Ardor yet, but it seems cool. So I guess while you're renaming these, how do you typically do your sidechaining? Do you just do a bus and route everything through it? Or do you do them per track? That depends. Sometimes I just, you know, make a single submix bus that is called sidechain, and I send everything that I want sidechain there. That's what I usually do. But sometimes I want things to be sidechain differently. So in many projects, I think I have both. So I have a sidechain bus, but then I, some tracks have their own sidechain compressor and they're directly take in the, either the kick drum or a specific sidechain trigger track that is not heard, but it's just used to trigger the sidechain compression. That's sometimes... Yeah, I really like... I'll go ahead. That gives you more... Oh crap, sorry. The timing is so bad. No, I was going to say, I like the using a little, like a little sine wave of beep as your sidechain source. It's a lot more consistent because then you can just swap your, like you're suggesting, you can just swap your kick sample out and stuff and then you don't have to, oh, how are you moving these? I always struggle to move stuff in Ardor. Control up and down arrow. Amazing. You can also do some other things, like with alt, you can move with alt... I don't know. Yeah, with control you can... I love how you can play it in reverse. That's the weirdest feature. Shift up and down. Ardor has some interesting features. Yeah. Okay, so we have the tracks renamed. We've grouped the drums. The moderators demand a new kick, so that'll have to be where we start. Yes, absolutely. We're going to synthesize a new kick and... Step one. We don't even need to hear the stems. Let's make a group for drums. Oh, what they do. I think I clicked something, something triggered weirdly. I'm going to mute all the drums. Maybe select all of them and hit F to maximize the selection vertically. There's lots of things I can do with these. Even with processing, we do need to trigger a kick and synthesize a new one. If you do alt and mouse wheel up or down, you're going to change the size of the currently hovered track. But sometimes it's easier to just drag and drop them. I'm going to... If we have all of the stems like this, I could probably make a little cardinal patch so it'll extract gates out of these because I can just, every time it passes a certain threshold trigger. I'm pretty sure there's a plugin. I already think I used something like that. So we need to put a trigger. It's a straight forward concept that might be shocked. Yep, LSP Trigger. He beat me to it. I don't think I used the LSP1. Let's see what it does, how it looks. There's a little threshold, so probably every time it passes that, it triggers. Maybe. I'm going to route. How am I going to do this? I think I'm going to take the pin connections of this thing. Oh wait, this is... Ah, I think this is... You probably want to use an insert. I think this is meant to play a sample. So... Oh, when it gets the trigger? Oh, that's funny. Yeah, it doesn't have a MIDI output. Oh! That's exactly what I don't want. Okay. There's another one called Onset Trigger. Bass Drum Detection Mono by Robin Carias. I don't know why only bass drum. I'm kind of... Other drums won't work. I have to assume they will. It's probably... Any MIDI outputs, so yeah. Perfect. So now I can... That's funny, it's giving two MIDI outs for each channel. Yeah, we don't need two instances. We need just one, and actually I could... Okay, yeah, first crash of the stream. There it goes. Dang it, Paul. So we found the pain point. Adding Audio... Audio channels to MIDI track or... Huh, that's weird. I do that a lot. I do all the crazy routing. So I don't know how I haven't encountered this bug. Some of my projects are insane with how much stuff's routed around. I'll send MIDI out of one track into another track to do audio to create another synth and then send that back into the original track to mix in a Carla routing. So I'm surprised I haven't hit stuff like this. I've realized we don't need to... Three hours of rehearsal. We don't need to... Well, to be fair, rehearsal involved zero usage of our door. Wait, no, no. We loaded the stems into our door. We didn't actually do anything. Yeah, it was an X42 plugin. Oh, I'm going to add... I guess I should blame Robin instead of Paul. But it's just too easy to blame Paul. What are these? Just... Oh, that's a delay. Okay, so I'm not going to add a new MIDI track. Are you using Pipewire for your audio backend inside our door? That's why there's no Align. Yeah. That makes sense. No Align is because of Pipewire. Yep. One of the few missing features they don't report latency correctly. Yeah, something's not... Or maybe at all. Something isn't connected here. Oh. I think I know why. Strict I.O. Yep. But I don't hear anything. Maybe we have... It should... Maybe the... The filter is causing trouble? Maybe. The filter frequency bandwidth. That should be low enough. The bandwidth was so small. Oh, so it... It has a... It has a Bandpass filter so it can actually detect polyphonic audio if we just tune into specific body frequencies of the drums. We could distinguish a snare drum from a kick drum. I don't know why it's called bass drum detection. This is... How high does the filter frequency go? The top one. It's 300. So we could get a snare. Snares are 250 at the highest. I don't really know. I will try to use it for a snare. Okay, let's make a kick drum. This is a little quiet. I'm gonna have to... We're gonna be pitching down the high hats five octaves. So that... So they get noticed. Oh, the looping in Ardors is a bit clicky. Okay. Yeah. No clicks now. So, my favorite thing. Making kick drums. Everything is in the frequency envelope. Good bird sound. Yeah, but we want... This is dubstep, so we need something more dubstep-y. Maybe less of a high transient. Yeah, that's a good... Yeah, that should be okay. I'm gonna fade it out. It says it's 20 hertz at the bottom, but it's clearly just DCing. So does it go all the way to zero? Yeah, interesting, right? I think it does. It goes to zero hertz. Oh, no, wait. No, no, it's not. It ends. Then it's zero. But if I go to minimum, it also disappears. I need to be above zero. I wonder if you can add nice offset to snare and stuff to get a really clicky transient. Anyway, I'll mess with that sometime that isn't now. But that's interesting. There is phase control. Oh, yeah. Now we have a clicky transient. Sweet. Let me add some noise. I know this is a kick drum, but believe me, even kick drums can benefit from some noise. Yeah, I like the Brownian for a quick transient to kind of it's functionally doing the phase offset. This is because I was using it to phase offset. My brain just never noticed that phase dial right there. It's like right in front of me. Maybe you're too much of the noise. Oh, nice. The whole server cruise making it out. Let's make the noise very loud at the very start. That's good. So it contributes to the transient. That'll sound good into some distortion. Yeah, let's do that. What should we do? I love ZAM tube for stuff. It's like just a tube, but it sounds so good. ZAM, yeah, there it is. Oh, for some reason part of what I typed to make it. Maybe I typed it badly. And then just click that insane button to get us started. Because I'm nuts. And then let's go into danger, right? Yeah, exactly. Up too much. We can hear it gets a real nice body. I just love using tube on my kicks. I wish it had a dry wet though. Yeah, I often use Carla and just route it. Although if you're crazy you can do it in our door because you can load up a mixer and then just route the audio past the mixer or past the tube and through the tube and then you mix it together. I've done that too. I was going to make a video on all this kind of stuff, but honestly there's so much to figure out. I haven't had to figure out at all making videos. Not just that, but routing everything. I wonder if I should be seeking this super deep bass in the kick or we should reserve that for the sub bass. I think it'll work out fine. Although I feel like a lot of dubstep kicks are just noisy. I was listening to 2012, 2013 dubstep the other day like you do. And yeah, it's a lot of there's not really much sub in the kicks. It's a lot of like a quick impact noise, but this is sounding pretty good so far. Yeah, let's see where that takes us. I think that would poke through. I think we could duplicate the track to get the original kick also. This way without doing some crazy routing within the track and crashing harder in the process. So I'm going to just duplicate this kick and insert after. I think it's the I think it's pipe wire that's causing the issues with routing. Like I said, I haven't I've been using also mainly instead of even using jack. But here I just delete the Gion kick and trigger. And here we have the original for weekly processing we made for the new one. Let's see what that does. Oh, why is sound nothing? Why do I hear no things? Oh, now I hear things. There we go. Interesting. If I high pass this to avoid any maybe we can do something with that. Let's hear both together. It gives it a nice acoustic snap. Although I feel like the original kick plays a bit faster. Yeah, because we don't have transient first. We don't have latency compensation. And we do have 25 milliseconds of latency because of the trigger. That makes sense. That kind of sucks. So this is one thing that pipe wire doesn't do well. I wonder if we can do something about your high DSP usage. Do you know it's probably just because it's pipe wires entire DSP. You know why there's high DSP usage? I'll show you why there's high DSP usage. This is why there's high DSP usage because you're not hearing raw audio from my microphone and John's microphone. There's lots of things going on in the background. Maybe let's do LSP delay. There's some way of compensator compensator stereo. I don't know what that does. I think it's meant for oh, we could even use the phase Yeah, we can use the phase analyzer also from LSP to precisely figure out the sync phase detector. So we can actually be sure that our kicks are in sync. So they are totally crazy. Yeah. Oh man, it does sound crazy. That's really something in the headphones. Yeah, because now I pan one kick left and one kick right. I think after I think I should just mono the signal. Wait, there's error Windows monitor monitoring and you can make the thing mono. Yeah. You can also be sure how does it work in mono. So the worst delay of samples 79. It can't really make it smile up. Or let's just dial in what we know which is what, 25 milliseconds, right? 25 milliseconds. Let's just dial that in. Monitoring. Okay, so I can't type in 25 milliseconds. I need to dial it in using the samples. Also, maybe I'm delaying the wrong thing. No, I'm not doing the wrong thing. No, that sounds right. Oh, this sounds worse. Somehow. Doesn't it? Yeah, yeah, totally. It sounds worse. So I guess take the exact same plugin because I guess we're offsetting in the wrong direction. But this is so weird. We are delaying the original kick because the new one has a delay because of the trigger. The original one doesn't. So now we should be delaying it twice. When I was working on some stems the other day, I had to line up now they are out of phase in a different way. I think the latency compensation works actually. With all the delay compensation we've made manually it sounds the best in mono. Yeah, this sounds relatively correct. It only sounds a few samples off. And that might be weird EQ. Or just how I designed it. Because the initial I leave out the synthesized kick should have a very fast transient. I will reset the panning so shift click I think they are fine. Yeah, that sounds It's good. There is a little bit of like a lead on the clap I think on the acoustic one. Yeah. It looks hmm. I think it works. So maybe we could gate the original kick a bit. To shorten the I like the Steve Harris gate. It's like the oldest possible plugin, but it's really nice, you know. We get a nice click. Oh. Wait, what does shift do? I did shift and I did not. Did that solo the group? Yeah, it solo's the group. It does by the group. Oh, that's so cool. That's nice. It's really useful. I love how every time I load our door I learn like five features. There's so many features in this DAW. So it inverts the behavior. If I have the group enabled using shift ignores the group if I have it disabled using shift uses the group. That's so cool. It's like we're snapping. Alt changes what happens whether you turn it on if it was off or you turn it off if it was on. What does the chat say? The chat says Rob for president. Oh, dear. The president of what? And lo-fi says I forgot my instructions. I did. Wow, this kick is incredible. I can't believe how acoustic this original sounds. Is that a real drum? I believe it's all synthesized. Incredible. Good work, lo-fi. These were my instructions, pre-stream. It's really nice. Let's take a look at the snare. I feel like I'm hearing this in mono. Are you monoing the master? No, shouldn't be. Okay, it's just so reverberated. Reverberated. Let's do what I usually do which is apply a resonant high pass filter to both cut off the garbage and also boost the body of the drum. Doesn't want to show up so much. I need another. Okay, that's quite high. We could use a plug-in from MDA to pitch it down a bit. Or up. MDA Re-Psycho is a very interesting pitch shifter. It only pitches down but it's a triggered pitch shifter. It triggers on transients so it doesn't mess them up. It's specifically made for drums. It sounds like you've loaded it into a sampler. We can also choose a quality. It's not inducing delay either, it seems. Yeah. Assuming that's telling the truth. At least it's not reporting it. Yeah, yeah. Let's see what our frequencies look like now. Oh, interesting. This sounds acoustic-ish also. We'll have to gate that. I'm going to use a shelf also to... Yeah, this is something I don't like. Yeah, that's nice. That's a bit too much. Nice. Okay, I'm not super happy yet. It sounds kind of tamish. Yeah, I think that's because of the heavy reverb. That could be, yeah. Calf Transient Designer is one of a few Calf plugins I actually use because this is one of the best if not the best open source Transient Designer I've seen. I've never used a Transient Designer. Wow, that's cool. It basically detects transients and applies maybe I'll do it before. That's pretty good. We need to saturate it because it clips. Maybe let's try chow tape this time. So I had it crashing me on Windows. Not sure if on the next it was crashing. I think it's just a bit heavy to load. So... Yeah. I can still hear you. Yeah, okay. Oh, there it is. Let's see what it does. Wow. That's pretty good. That's a nice... That fits. That fits the style, I think. That's good stuff. My lo-fi says B-shaper. Do I have it installed? B-shaper's good. Lifeline says will it crash? Snare. No, actually, it's snared. But I'm... I'll maybe back off a little bit. I'm gonna apply this transient designer on a kick. Or I will just modify my patch. So the general amplitude I can now do this. For example, and now we can simulate compression, actually. Which is quite interesting. Oh, that's the wrong one. Something's not right. Doesn't sound that great. Okay, now we need to give it more zam tube. Oh, yeah. There's also a bunch of tube models on the right. Which you can play through. But they're not worth checking out now. I think this sounds good. But just for future reference. Yeah, there's lots of options. And also an EQ built in. Yup. I wonder if these are like impulse responses or... I don't know. I think so. They sound really good on a raw guitar signal. So I think it's some kind of cab simulation, too. But it really adds a real world sound to anything you run through it. So probably some kind of cab response. Let's see how our kick and snare sound together. Okay, I know what we're missing. You need a bit of top end on that snare. But it does sound good. We do need top end on it. Maybe we can do it with ether. And then gate it. Or just make it... Hmm. I'm also missing some width on the snare's top end. That's obviously... That's starting to get somewhere. Too much, but... If we can just get a bit of that. The decay on the early reflections really helps you tighten it up. Oh. Or rather, lack of. Also we can turn down the feedbacks. The delay knob. Right? Because that delay knob in the early reflections is like the length of the delay. That's the pre-delay the early. That one. Down below the length. Both of those too. There we go, yeah. What if we disable the tail at all? I was saying delay instead of decay. My bad. Ah, that's why I couldn't understand what this was. Yeah, yeah, yeah. All right, now we just have a... Okay, no, that's not that. We can increase the feedback. Add some stages. Chorus and S to it. Oh, that's too much. No. Too much feedback. It sounds kind of metal-y now. Ether is power-hungry. It is, so it's best not to have 50 instances. My lo-fi also says Distort the shit out of it. Oh, sorry, I'm sorry, that was not correct. Distort the shit out of it! Oh, we also have quantizer in here. Snare needs some juice. Yeah, I think maybe if I do this before the tape model, I think we need to slam it a bit more. And maybe it has a tone control. If we boost the treble. Okay, I think we need to use the best after that, but what about the compressor inside of... Chow. It might as well turn every knob. Everything. Okay, that's kind of on the other transient, which makes sense. But if I make the attack longer, should... No, it's still on the other transient. Maybe... Maybe some pre-EQ into it. Maybe some post-Ether pre-Chow EQ. Get more top end. Because I think it's just muddy mids that are coming through that we're hearing. That's so metallic. Yeah. I think that's because I've gave too much... It's a little bit better, I think. Also, we can randomize the seed. FatGurth says the good name. Bias is good for adding snap and to turn bias up. It's probably a good idea. I think that shifts the wave form. I think Ether makes it a little bit too chaotic. Can we high-pass this? High-pass the early reflections with that low. That'll help a lot. Oh, yeah. That was too much. Mids. Yeah, this is starting to do something. That sounded good. I think we can... It's interesting. I did such a silly cut in the middle. What if I would mute it, though? Interesting. It doesn't make that big of a difference, even though we're cutting like 18 decibels, right? Yeah. There's snare there anyway. Yeah, that's not really... That's interesting. There wouldn't be much sound in that range because you've got the drum body which resonates like 200-ish hertz and then you've got the springs on the drum which should be in the like 3-4K range. That's good. Yeah, that's going to be a nice low snare. That's sounding dubstep-y. Nice low snare. A bit of a top-end. I think it's getting better. Let's hear it with the kicks. I think it's getting better. The transient seems a bit inconsistent. Maybe we need to trigger a little jump kick patch just for the transient and add a small gate to cut off the original one. Maybe. Or just keep going with other things. Yeah, I think let's leave it be. What about the hats? First thing I'll do is find some see if there's any lows that may not be needed. Don't see any, but I'll boost the spectrum. Yeah, this is high-passed. I don't know if I want to do anything with this. What about the second one? This thing I would high-pass. I don't think it needs to be... Oh. I hear a honk. Oh yeah, there's an ambulance passing by. I'm pretty close to a hospital, so that'll happen. Take me to the hospital records. Man, that's such a good song. I think this is pretty okay. I'm gonna make a bus for these. I'll save first, so if I right-click on this group header I can do... I could if there wasn't any MIDI involved, I guess. Sometimes for audio tracks only there's an option called group bus. Which is really useful. But, because MIDI is involved I'll have to make one manually. I usually call my submixes with capital letters just to make it clear what they are. Differentiate them from send buses and some other stuff. Okay, now we should have all the drums in here. Yep. So we can also apply some compression or whatever we want later. Let's get into the other sounds. Let's hear what is there. I think that bass pluck we could probably do something really cool with. With a lot of distortion. This one? Yeah, use that like a drop sound. Lots of distortion and side-chain it from the drums. Yeah, I think that would work cool. That should work really nice. You know what, we could use Chao BYOD. I haven't gotten a chance to use that yet. Oh, it doesn't even have the Chao in the name, it's just BYOD. Terrible branding. I'm making a video about it. I've been making it for like a couple months now. Maybe I'll finish it someday. Do we have audio still? Yeah, if you guys need ambulance samples, let me know. It seems like Chad can still hear us. I can hear you. Okay, where is BYOD then? Yeah, I'm always wary because sometimes tracks plugins just crash. And yeah, I always expect that. Bass. One problem I have is that things are stealing my keys. Yeah, Cardinal would do that all the time. That's been mostly fixed. I can't start my playback. I need to click on something else. I'm going to assign my MIDI keyboard to darn. It's so hard to click on things sometimes. I'm going to assign my MIDI keyboard to Yeah, Lo-Fi. The kick transients are weird. We were trying to sync them up. It seems like our door has synced to them and that they're just a couple samples off. We'll come back to the drums at some point. Okay, now I have a key. I don't think we want this to be a endless drum stream. As fun as that would be. I'm all down for sound designing drums for hours. Me as well. But I don't know if it's best for the stream. I think my head room is a bit low in the frame. I need to increase my dynamic range because I'm being clipped. I hear some weird clicks. I wonder if the audio is completely bonkers now. It doesn't sound like X-Runs. Oh, it's monophore. Oh, yeah, listen to that. I guess it is. Oh, there's stereo. No, it's stereo. Something is making clicks. I'm not... I'm... I'm... Is it BYO? I think it is. Look, it's feeling some stuff. It's... Even with it off? What the... There's no input coming in. So that was making the sound, though. I deleted the... It's gone. No noise again. What the hell? I've never seen a muted or bypassed plugin to be making sounds. I have used BYO Db4. Let's try the VST version. Maybe that's going to be noise-free, okay? Nice. I don't hear anything so far. Remember to switch it to stereo. Yeah. And also I can use my spacebar. Let's see. No, not consistently, so whatever. That snare is pretty cool. Yeah, I agree. Maybe I'm going to solo the bass for now. Okay, let's make this a little bit bigger. What can we do? We could do guitar ML, for example. For starters. That'll probably sound interesting in parallel. Yeah, I think it's probably... This has a mixer in it, right? Yeah. So we can throw a bunch of different things and then blend them together. Yeah, that's quite subtle. Yeah. But we could add something else to make it less subtle. Tube screamer. Oh yeah, and of course I forgot to mention what the space sound design is. So beautiful. Interesting. It is indeed screaming tubes. Let's see. What is run on the... I think that's a neural network thing. I mean, double M always means neural networks, right? Guaranteed. Okay, random seed. Interesting. I guess these are kind of presets. I think I want to high pass. The problem is things are not called typically like high cut, but you have bass cleaner instead of low high pass. Sounds like guitarist nonsense. Yes, so things that people who have no idea what technical terms are use. Just so you guitarists out there know, gain amplitude are the same thing. So is drive. Gain drive and amplitude are all the same word. There's no difference. Bass cleaner. Pro tip for all you guitarists out there. Let's see what high passing this will do. Oh, I think I connected it a bit friendly. Oh no, I meant to do that. I think what I need is compressor really. I think I'll make these zoom out to make them smaller. The interesting thing is that the canvas is of a fixed size. It's just the size of the window. Does this work? I'm not convinced. Neither am I. It sounds like it's not doing much. We have it connected. If anything, let's see. Okay, that changes the sound. Yeah, I think it does. Okay, maybe there's just not too much dynamics to begin with. So maybe I'm going to put this at the end after the high pass or bass cleaner. Because there should be a lot more dynamics in the high range. Yeah, especially after we remove the low end. Okay, yeah. Now I can hear it working. Or can I? I'm not sure, really. I am kind of suspecting this compressor is permanently in bypass. It may be. Because of some error. Sorry, to keep the CPU warm. Okay, we're doing something. Save on bass. It's a state variable filter. We could use this to have a notch, but we can't really have motion. They don't have. That's interesting. You'd think that they'd have some way to route to controls. It's not like guitars don't have dials. They usually have buttons that they step on, but that's still something. We have a crossover filter. So again, split our lows and highs. All right, let's do this. Why are there three outputs? Because it's separating mids, lows and highs. Oh, okay. I see now. Yeah, that makes sense. Okay. Let's do this. Now we're in business. This is going to be interesting. Okay. Things are happening now. You can really hear the tube screamer. Okay. I think this really needs a side chain. I feel like it could be. I think I'm going to clean it up with an EQ to remove some of it. We may want to loop one or two transients of the bass so that we don't have the moving phaser if we're going to be using it as something. Oh, we could use like add a phaser and automate it so we have a curve that follows a certain pattern. We can also use ZAM ZA multi-comp which is a really fine multi-band compressor. By default, everything is off. We can listen to one band. That's the highs. We can put this a bit higher. Now mids and lows. So now we can turn up the ratios a bit. Turn down the thresholds a bit and see what happens. I think we need to EQ it before doing this because it's kind of getting really messy. I think I'll need to cut off lots of things to make this Yeah, it's getting pretty noisy as it goes through. We hear some cars from your John. Oh, yeah. There's nothing I can do about that. I may switch back to I got the dynamic. I may switch back to that for next time. Get rid of all this sound. It sounds nice, but Let's see what we can do with the shelve. There's a bunch of exotic car dealerships by me so people take them down my street to test drive all the time. The high chance it's a fancy Italian sports car at least. So, I have all the things to be interrupted by. I guess that's a better one. I'm trying to get rid of some of the That clicky I hear it. That's much better. I guess that's going to be a little bit more pleasant. We skipped an arpeggio I'm going to move it down. Let's hear the bass with the drums. Yeah, it's a good dubstep intro. Let's sidechain that. It needs a hectic sidechain. Like God intended. Compressor. Hardware stock compressor does a surprisingly good job. I haven't used it. I've just been using LSPs sidechain, but I'll check it out. Just pick your kick and take the sidechain box and you're in. That's nice. I'm not sure if the snare should also do it. Probably actually. The snare should also cause a sidechain. I'm going to copy the compressor. So we have finer control. I'm just going to do this one. So now Yeah, let's just not make up the game twice. Maybe a bit less ratio, but I think it sounds good. I think the kick needs to compress harder than the snare. I think the snare can be down a bit. So a lot, I guess let's go further. What other sounds are there that we can apply effects to? Mess. Oh. I kind of want to make this make this sidechain. Oh, it's going for the whole thing. What if we literally just take this solo everything else apply ridiculous amounts of distortion to it and just play this in drums for the drop and then we'll just have like the snare hit and then silence and then the kick comes in and then this already is like the perfect dynamics for it. Yeah, just maybe add a bit more noise a bit more noise. Dissort this a bit more. Yeah, thanks for writing the drop lo-fi. Yeah, we'll do some Carla stuff some crazy parallel processing on it. It'll sound good. Bars and beats. How many bars for the intro? Let's say that's 16 if we want to start. Let's make this be drop. I think bar 17 you want the drop. Oh, right. So we're going to cut this mute before Oh, we can have it swell in on that first hit. Perfect. We're a filter. Yes. And the bass, the first bass we do. We need to mute it after that. What we can do, what if we side chain that bass so we duplicate the bass track and then we side chain that to the big bass so the bass plays and then the pluck comes back in and then gets taken back out by the big bass. Yeah, or let me duplicate. You could just do it as a compressor. Yeah. There's a bigger bass in town now. Step aside. Sorry, Paul. This track ain't big enough for the two of us. What is it called? Two, okay. The first bass tried to retaliate. We tried to round them together. The track's not big enough for the two of them. We tried to tell you. We tried to resolve the complex peacefully, but it didn't work. Unfortunate. So, Tifa just asked, are there one crash? No, we have two already. Now we're getting somewhere. Now we're using the DAW. Oh, man. Let's see if we trigger that every single time or just once. And again, just mentioning for the sake of chant, this is probably a pipe wire issue. I would definitely blame pipe wire before I blame our door in this case. We have some crash recovery. Good, good. The crash recovery in our door works great. My only complaint is that it saves over your last project. So if you haven't snapshot it in a while, it'll erase all your progress. So I always copy the project file before I do a recovery, just in case. Some... A plugin says it crashed as well. Oh, okay. I noticed, yeah. See you, Rob. Thanks for hanging out. We're going to miss you. Yep. See you next time. Yeah, okay, let's try again. Maybe I'm going to insert a new compressor, maybe copying that. I want to make it angry. I don't know. Compressor... Reusing. Recycling. Compressor recycling. So we want to cut it off completely. That's good. Yeah. I don't know if it's too quiet or my... I don't know. Yeah, it's very... I think I'm actually going to compress it after all this sidechain compression. Because it kind of... kind of disappears. Oh, we have another hi-hat coming in. Actually, it's a ride. Oh, it's a ride, huh? It sounds like a hi-hat to me, but... The name doesn't lie. I need to obey the naming. If Lo-Fi says it... If Lo-Fi says it's a ride, it's a ride, all right? All right. Are the drums so loud? Or is everything else so quiet? I'm not sure. They are so loud. Also, I'm going to insert an X42 digital peak limiter on the master. Maybe... Yeah, maybe I'm going to reset the levels, but I'm going to turn drum down the drums. Oh, okay. Everything is louder now. Oh, I think... That works well. That counterplay is working perfectly. Yeah, interesting. Lo-Fi says the bass has overtones later. So we'll probably have to chop this a couple of times, do some stuff with it. We'll have to be real musicians instead of just... Wack idiots. That's working well. I don't know. I'll just put Noisifier on this. Distorted some more. What was it called? It was a tap. I'm not familiar. Oh, it is a tap. I haven't used it then. I have the tap plugins. There was a plugin that Noisified your input. It was perfect for this kind of stuff. I think maybe it was C... I must be missing it. There's Noisemaker from TAL. Yeah, but that's different. Yeah, I think what I can do is use tap noise. Gate this. Even hard gate this. Good idea. That could sound nice. Yeah, bonus points. Maybe even more noise. We can apply distortion after to kind of smash the noise together. Yeah. Maybe the best first. Maybe after. It's not too bad yet. It's kind of steady. The best would be nice for maybe if it's changing, but this I guess we could just do a VDQ maybe. Yeah, that's a good point. The noise is completely stagnant. That's used to tape from this. Maybe five. I guess it's a bit loud. Let's see how it plays in the context of everything. No, it's not quite. It's not loud. I want to mute everything. Oh, I know. Maybe I can do it like that. No, I can't. Ah! Yeah, that's the only way I know of to move next. The more you know. So I'm very excited about the fact I can use the arrow keys. Something is whack with the level. Maybe the sight change compression takes too long to release on the... How do these two sound together? Maybe we can shorten this. I think base one has a bit much trouble to be together. Oh, wait. I think that's solvable. Base one or base two? Base one, I think it sounds... Cause I like the tone of base two with all that noise. Although it'll probably be better to clean that one up. Yeah, a little bit. And it also needs to be sight change with the kick. It does. So maybe first a little bit of EQ. See what we can do to make it a little bit less. I like these harmonics coming in. That's probably going to be... Yeah, that kind of makes it a little bit more pleasant. Yeah, it adds some highs to it instead. Oh yeah, nasty. I think I like this abrasive character of that. I'm liking it a lot, yeah. You know what? I would like to make it get some jitter to it. Like a... FM modulation with a noise. So I don't know, maybe I can do some chorus. I don't know if we have something like... Someone said... I love chorus on this kind of stuff. You can get really good sounds out of... B-shape or... Yeah, but that's for... That's for envelopes, right? There's... Yeah, that lets you create an envelope for that. Although you might be able to LFO it. Hmm. Maybe a ring? No. Ring mod might work. Frequency modulator... Oh. What that... What will this do? I'm always... Ah, okay, this is a... What? What does this even do? I think this is a generator. It's not... Okay, that's something special. Let's try some chorus, you know? Yeah, I love... I usually use the CAF chorus. The CAF multi-chorus. It's actually pretty good. I've been using that lately. It's got all... You can have a bunch of lines and you can... There's a lot of configuration. Yeah, I think we could... We could put this before... Before the noise. That sounds good. The only thing I'm worried about is... It's a bit wide now. There you go. Yeah, and also I'm worried about our... Bass coherency. Are the sub... I was figuring... I was figuring we would send everything to a different sub bus and just process it there. That's what I've been doing lately when I've been working with STEM. Oh, look at this. That's cool. Yeah, this is what I wanted. It's like... Making it... sound insane. Maybe we'll need to duplicate it to separate the sub. I'm not sure. Maybe not. The sub seems to be fine. Okay, now we just need the sidechain. Maybe we could use the sidechain... to bust. So then we can't... It would be nice to then have a... sub mix for all the bases so we can... compress them together. Yeah, I usually do all the bases to a bus and then out that into a dedicated sidechain bus with a bunch of other stuff. So I'll have like... I basically route everything into a sidechain bus and then I'll occasionally have... If I'm doing something particularly crazy, like a house track with tons of like swell in the, you know, like the trancy kind of... kind of swell stuff, I'll do two sidechains. One that's a short sidechain for things like... reburbs and hats and stuff like that. And then a big long release sidechain for... those. I like how it plays right before the kick. Yes, and then it's cut off. And then it comes back. That's nice. It's perfect. We should have a noise build right up that cuts at the second the base starts. So like a swell into silence except for the into the kick. Yeah, or like a tiny bit before. So there's like a tiny bit of silence. Yeah, we're doing a separate music submission stream. Yes, basically we'll end this stream and everybody is going to automatically be redirected to the music submission stream. We're gonna take a few minutes of a break to just, you know, a bathroom break get some water. And it's a good idea for you to also grab take that opportunity and then we'll be right back with the submission stream. And this is done because lots of people submit tracks and then they submit them to music labels and the labels submit the copyright IDs to YouTube and I get copyright claims on the live streams, which is kind of annoying. So if we can separate that then all the claims go to the music submissions and I don't care. But the educational content, the main part of the live streams is not affected by that. Which I think should be nice. We need to get rid of that base because I mean it should maybe come in and we should also hype as it and then like I have ideas. Yeah, go ahead. And then we could just have a very quiet sub base playing like minus maybe 6 dB from what the drop sub base will be just to kind of fill out some sound. We don't have anything here. Oh, I wonder if there is still the bug that if I select as part between two it's gonna crash. I think it is there. So automation is kind of kind of dangerous. I have encountered that. You seem to encounter all the bugs. Yeah, that's my job. I swear I do crazy stuff in our door. Actually, Paul tells me that I'm doing things wrong all the time. He's like, why would you do it like that? I don't know. The features there. I think I also should type as the drums just as well. Maybe I'll go copy to the whole filter plugin because the cool thing is it copies the automation too. So now we can have this. Maybe give ourselves a little bit more bass here. Oh, that's a low pass. Ah, okay. That's not what I wanted to do. I wanted to give ourselves some bass. And then it could swell back up and back down. It seems the bug isn't here because I just clicked and selected both and it would be gone if it would be there. So I'm going to be a little bit more relaxed about touching these. Maybe we'll unmute the... I think a very good thing in like rearranging something from stems is just to mute everything and then unmute it and compose your new track like using these elements. We got to make that into the top, like all over the place. Whenever there's silence, we need part of that sample. I was to make a save just in case when we're here. I want to pitch shift this. I want to do some crazy stuff with this. If we automate the window in MA pitch shift, we can get some really crazy stuff. I really like this plugin because of that. The window is like how long is the sequence of audio that it considers when doing the pitch shifting. So you can make it do really wacky stuff. You can do very cool, very short. Let's see what that does. It's uncomfortable. Yes. It reminds me of Back Childhood Memories by Oh God, who's it by? It's a weird song. Roswell. Very strange track. Weird vocal processing. Neo Signal does a remix of it. That's crazy. There's your homework after the stream I guess. We need to pause the drums and we need to build up. So let's cut here and now decide how much do we take maybe and also the hats. You should say something in that period. We got to take the sample. So maybe we'll just have the noise build up, swell here and then we have the bass come in. Maybe we can process something that we already have to make that noise open. There's a delay baked into that. Okay, maybe no. Maybe let's synthesize ourselves some noise. What should we do? Synthesize noise. I think, what's it? Something simple. Something simple is probably Oh man, noise builds are kind of weird. I guess surge. Surge has the noise thing with a that's pretty automatable. This is non XT. We'll see. No need XT. Do I install the new versions here? LV2. I need to favorite it. That's a good favorite. It's loading. Not a small plugin. Hard to agree with Synthavia's comment. There we go. Can I have modern royal surge? Yes. There it is. I love this skin. It reminds me of silent. The resolution is so whack. For some reason it's blurry. It's using a lower resolution bitmap. I'm not sure why. You could probably just put a envelope on that noise color. In the top left. I would do kind of like a band pass. Yeah, and then you can use a noise oscillator to do something crazy. You don't even have to use the sample and hold noise. You can do anything just to get a riser. Just remove the pitch from it. I'm going to make some... Where do we want to start this riser? Somewhere where the bass like here. Something like that. It starts underneath the the vocal and then it continues until maybe right up to here. So it ends with this. Can I somehow mark this? And then we can use the... We should use macros and then we can automate the movement easier. Yeah, that would be better than... Oh, it's so nice that Serge has all the macros on top of the list because Vitalium has them buried somewhere deep. You could need to go to macros between one and 192 and something else. No oscillator. Only noise. And let's turn it down. Now we can... Oh yeah, we can map the macro to volume. Yeah, that's true. And also to color so we can make it brighter. I think you can send the noise filter too. That's probably pretty extreme. The noise color I've found is not a very far... You can have a confilter that would go like counter that we go in a counter direction. Yeah, that's a good idea. And maybe then a band pass after that. Which will kind of follow the direction. Okay. I have no idea what's going to happen. The perfect noise build. Is he even doing something? I think the noise level is too low. Yeah, we can hear it coming in. I think you can hold alt and shift to move controls while in edit mode. Move controls? Like if you're in the thing where you're assigning a parameter, I think if you hold alt and shift you can move the parameter without assigning it. I think you just need to do middle mouse click to toggle between being in the assignment mode and not. So now I made an assignment that doesn't do anything so I need to delete. No. No. Gain. There we go. Give me gain, man. Yeah, the confilter doing its thing. Yeah. A little bit of a little bit of reverb to it. Galactic. Some compression because it gets louder in the middle, I think. Yeah. Longer maybe. I think my keyboard disconnected and harder for dropped it. Some compression. And then maybe bring it back down at the end, the automations. So we get the build up and then the build up. Ah, right. I think it gets a little bit, maybe a little bit too high. That's what I'm thinking. Or we can just use the best tone down the or we can just alter our automations. There's the best inside of search. You don't even have to go out of search. That's true. We can also go and do this right back. That's pretty cool. And the reverb, it sounds like a snap of a spring reverb. I don't know. That's funny. Who put a jet sample in this track? It's pretty cool. A comb filter is a real life effect because it's just a delay. So when a plane passes overhead you're hearing both the original signal from the jet engine but you're also hearing it bounce off the ground and reflect back up to you. Which causes comb filtering. So that's literally what you're experiencing with the jet passing overhead. And you can test this if you like go up to a wall and just start hissing or take a piece of paper and you probably hear the phasing effect happening in physical world just because you're changing the delay the time the sound will need to bounce off the paper or the wall. Yeah. Let's see how does this riser work with the rest of this thing. I think it's too loud because the bass doesn't hit hard. And I think it's still going up a little too high on the automation but I think it's good. We can back it up a little I like that it kind of disappears in there and then comes back. Maybe just debass then. It's already there but maybe I needed to make it stronger. Oh I can turn down the depth so it does more things. We can monitor it. Can I just it's doing a lot stuff. Yeah that sounds a lot less intense. Maybe I'll put the dynamics afterwards so it's still kind of Yeah that's a good idea. We lose a lot of dynamics to the debass. It's funny because I made the reverb like super wide and it's an interesting effect when the mid signal kind of disappears and all we're left with is this like 200% wide noise reverb tail. I think this should do. Maybe the vocals are also too loud because we need a contrast with this drop. What I usually do is I just put an ace amplifier after the limiter on the master and then I'll just turn it down 3db or so when I'm not in a drop and then I just turn it back up. Yeah that's a good idea too. Ace amplifier. Yeah this is a very good thing to do. I do a post limiter so that you get the peaks limited but then it brings the whole signal down still. I hope to like use all the dynamics I can get. I don't want to waste them so also it would make sense to I don't know. I try not to hit the limiter too hard anyway so it's usually just smoothing out peaks more than it's. I do maybe 1db of limiting in a track at most even in like heavy dubstep tracks. I think we'd have some fun with something should come in right here. We should get. This is where we should be throwing the vocal sample if you're saying putting whatever everywhere. Every gap should have a weird vocal sample in it. This is how you make dubstep. Right we should make the vocal chops out of that. And then just too we're excellent for that. Yeah Wonky mentions using the master fader I actually intentionally use Ace amplifiers everywhere so that I can automate volume and still have access to the actual fader for my mixing stage. Then I don't have to basically give up the mixer on the fader. I don't see many people do this. I find that kind of interesting. Oh yeah because you're editing the window you're automating it. Yeah I'm trying to get the automation here because I'm going to copy the automation. Why am I doing this again? No need to redo it. Just copy and paste. Paste it here. Paste it here. Works pretty well. Yeah I guess. We're kind of running out of time so Yeah we definitely are. Not that much we can do. We didn't even use our new setup. Oh no. Yeah maybe you want to do something. Yeah I guess I will. Go crazy. Sweet I'm in control now. This is my stream. Alright let's see here. Let's chop up this vocal. That'll be fun. Let's get this about here. I'm just going to repeat it in three times. Oh yeah. Let's generic dubstep away. Yes perfect. Now we're making music. Yeah good idea. So let's do come on unselect them. There it goes. Edit. Oh it is edit you're right. No it was in the region now edit and here pitch shift. My cousin's calling me. And pitch shift. Alt-8 is this. Ah yeah there it is. So then let's go down five semitones. Down three semitones. Oh sorry I touched the mouse. Oh it's fine. I didn't even notice. Wanaki asks what software are you guys using to share control over the session? We're using Rust Desk which is an open source alternative to something like TeamViewer. So let's Rust Desk. It's amazing. I'll get this just so I can remove EQ this even more. Let's go after. Just for these drop sections. I gotta get used to this. Yeah good call. Alt-1 is my yes there we go. So I can disable all that and then we can go so this one I want on this one I want off up here there we go. Okay and then these all I want to disable if I can. Oh that flipped. I gotta select them one by one. Cool. Nice. This is great. Let's get I was like oh where's all my plugins I'm used to. I guess it feels pretty responsive so you got lost and forgot you're not on your own computer. Exactly. There we go. Then let's get you open. The really cool thing about LSP EQ is that you can offset all the frequencies with a pitch correction knob. Actually it's somewhere there. Yeah I was messing with it with you can automate that to make like that's really cool. Oh yeah that's a good idea. Make a weird bell shape. This is already going to sound weird. I'm not even listening to it and I can tell it's going to sound weird. That's good. Get weirdness in the top range so it's not really competing with the bass. A little gain on there. Oh. So it's finaki or finak. Sweet. Then let's get what if I make these the ones active and then it. I think I only want it when we've got bass coming through so if we chop these up flip them so now it's only filtered when the bass is happening. Need a bit more gain on this and hear it. Then we should just basically be doing this and all these gaps. It'll sound hilarious. So let's go. This one is muted so you're going to chop it up and unmute parts. I'm actually going to bring it down into this one with the processing. No actually because it's going to be no bass here. So there's tons of cool sounds that like one of these parts of. What if you like dragged parts of the synth stuff onto the flowing through your track. Oh just so like processing? Yeah. Let's grab the mixing. E-U-E or something. Where's our so that was our bass two is the big one. So do we want bass one or bass two? Let's grab this... Let's grab this chorus. This chorus is nutty. Yeah. So that's the original sample. This is the... And we can automate the like if it's on or off I believe. Do it post. That's the recorder. There we go. Is it this track? It's the second one. Oh you're right. I don't know which one you have selected. Oh yeah. That's crazy. Still soloed. There we go. You can also reverse stuff. That's a good idea. I think it's Alt 4. I think Alt 4 is the shortcut. That's good. That's good. That's exactly where that should be. So Alt let's just duplicate this out here and reverse it between these two. So Alt 4 you said. Let's try it. I think it did it. That looks right. That's cool. Now we're making good progress. You can hit T for time stretch and use that to like you know like make it long and then chop up some pieces and it sounds like an ambient pad and... Have you used a Paul X stretch ever? Oh I did not. That's crazy. It's a plugin right? Stretch. Crisp monophonic instrument. Would you say you are a crisp monophonic instrument? I think I am. That's good. Awesome. That's very good. We're making good progress now. Paul X stretch is crazy. It'll stretch a 5 second sample to like 10 hours. It's louder but it's perfect. Yes. Everything that I could ask for. Let's take this section of this. You want to copy it? We can copy it with automation. Right before... Right at the end of this. Oops. This is the one with it. We just need to do this to the rest of the track. We should probably start heading towards the submissions. I think you're right. But this is really fun. Let's get... I'm just going to compress the hook out of this. I'm going to limit it. We're going to go nuts. Oh yeah. DPL and you can just... Like 40 dB again. Give it no fear. And then you can move the fresh up a bit lower. Give it true peak and we'll lower the volume. Yeah. That's sounding good. Quick, we have five minutes to print this for the festival. Okay. Everybody ready! And it can just go on and on. Oh that was awesome. Epic sensor beep fail. I don't know how it failed but I guess it was fun. We can't hear the sensor. That makes sense. But now that he mentions it yes I do not hear the sensor. Now you should be. Wow! Oh well. You hear beeps? No beeps. Too bad. I don't know why. Un censored. Life of you two. Don't bring your kids to this one. This one. Oh my Christ. You want to do some last second things and then we'll take our break and go to submissions. I don't know. We can do one silly thing and that is put master me on master. Good call. Then we're done. Then we've mastered our track. Radio ready. Let's see. Okay. Are we an expert? Music general. Am I an expert? I'm an expert. It's a lot of controls. Too much for me. I don't know if I'm an expert anymore. We're actually pulling pulling out We probably don't need to use the DPL after the thing. After this. I think I'm going to for sure put this into the the warm-up playlists. Or at random. Andre Vitula says wow mastering is so easy. Fnaki says unfuck gone wrong. I hope I'm pronouncing it names correctly. Let's save this and we'll be right back in the second stream where we'll play all the music submissions. So don't go anywhere.